Quotes About Poems

What does it mean to be a used white wife, a mother, a tragic girl writing poems? Sandra Simonds gets into these messy words and then tears them apart. Sometimes with the words of others. And sometimes with poems made from scratch. They aren't all bad, these words. But they aren't all good either. And that is where Mother was a Tragic Girl gets its power. You will at moments be laughing but then you will also at moments just as much be crying. If Antigone was alive and decided to write some poems about the nuclear family, she would write them like Sandra Simonds. These are tough.

If the motive of writing is for some people a kind of exercise in dirty laundry, that's one thing. I've always thought of my poems as meant to be overheard, as I think all of these poems are. It seems to me if you get experience right, even your most painful or humiliating experiences - if you get those experiences right for yourself and make discoveries as you go along and find for them some formal glue - they will be poems for others.

When I go to the shore, I take along the poems of Pablo Neruda. I suppose it's because the poems are simultaneously lush and ripe and kind of lazy, yet throbbing with life - like summer itself.

As for the differences between audio and the printed page, the sonic aspects of poetry are important to me. I read my poems aloud to myself as I'm composing them. And I enjoy reading to an audience. I think people get tone more easily when they hear a writer read her work. Some people have told me they hear more humor in my poems at a live reading than when they see them on the page. I think that may be a matter of pacing. On the other hand, I've listened to a lot of poetry readings and I know how much you can miss. If you stop to really register one line, you miss the next three or so.

I guess that would have been 1968. I was a freshman in college and I wasn't writing good poems, but I was at least trying to write poems then.

I also like poems that are haunted by a structure or a narrative, or poems that frisk flirtatiously at the boundary of sense.

I wrote a number of poems about Kah Tai lagoon, when Safeway was building that huge, ugly store down there where I used to love to watch the birds nest. That political poem, or environmental poem, was unsuccessful because Safeway built there anyway. And yet the poem has something to say today, as it did then. And I speak here only of my own poems. The agenda for every poet has to be different because most of us write from direct human experience in the world.

With ferocity and extraordinary craft, Lizzie Harris has made a book of poems that resonates far beyond the personal stories it tells. Stop Wanting reveals, in every lyric, its author's profound metaphorical gifts. In its ironies and intensities, it brings to mind a writer like the young Sylvia Plath, though what is startling about Harris' s work is the way it combines those gifts with a muted, deft self-awareness. Most of all, these are wonderfully shaped, powerful, and surprising poems-a startling debut.

I want to yell about it most days and stop strangers in the street to share my outrage. But my mind is too serpentine to offer instant poem reactions. I can however stand back and examine the deeper ground, or at least that's what I hope my poems are doing. I believe contemplation can be an ethical act and literature can be a profound agent of cultural change, so I hope in some way my poems expand the conversations about environmental decline and social responsibility.

I've changed over my writing life. If I can generalize, I would say that the more recent poems - believe it or not - are more pointedly political; although, if the earlier poems were more existential, they were still political; though, in their own way, had a complicated presence.

[My poems] of course, it's symbolic, in the way that things in a poem can be - that is, pointing to something beyond its mere ordinary meaning, while also retaining all the qualities of that ordinary meaning. In other words, it's a bear, but it's also suggesting something else, just by virtue of the attention to it. But it's not "symbolic" in that way we are taught to think about things in poems.

Too many poets write poems which are only difficult on the surface, difficult because the dramatic situation is easily misunderstood. It's not difficult to write poems that are misunderstood. A drunk, a three-year-old-they are easily misunderstood. What is difficult is being clear and mysterious at the same time. The dramatic situation needs to be as clear in a poem as it is in a piece of good journalism. The why is part of the mystery, but the who, what, where, and when should all be understood.

It's fun to see someone grow as a writer, moving from their first workshopped poems to publishing their earliest poems to having a book accepted for publication. It's great to see poets with persistence succeed.

Poems not only demand patience, they demand a kind of surrender. You must give yourself up to them. This is the real food for a poet: other poems, not meat loaf.

In Advance of All Parting is a tough, unsentimental examination of marital grief. Musically elegant and inventive, understated and passionate, the poems give us a profound glimpse into how the events of a life can form a center of gravity that fixes the self in its force field. Theres a cold, truth-telling clarity about them that makes them as unsettling as they are beautiful. Ansie Baird has created a richly-drawn world in which this elemental drama plays out, and the result is vivid, startling poems in which pain has left its indelible tracks.

I prefer the absurdity of writing poems to the absurdity of not writing poems.

Anna Journey, in her new book of poems, Vulgar Remedies, creates an alchemical self whose shimmering limbic / alembic lyrics distill the mysterious terrors of childhood, the dangerous passions of adults, into her own honey-dusk 'voodun': protective, purified to gold. Poetry is always a time machine: here we are invisible travelers to a bewitched past, a beautifully occluded future. These poems are erotic, vertiginous, revelatory, their dazzling lyric force reflecting profound hermetic life.

I wanted a perfect ending. Now I've learned, the hard way, that some poems don't rhyme, and some stories don't have a clear beginning, middle and end.

I tend to like poems that engage me - that is to say, which do not bore me.

I definitely notice the absence of character in most poetry, which is not so say that I'm an innovator in that regard. Character-based poems are not weird or new by any stretch but they feel strange and new because the atmosphere is one in which no one does that. People always talk about, and with good reason, poetry's unpopularity. When people say that they forget or they brush aside the fact that in the middle part of the last century poetry was immensely popular. Dylan Thomas was basically a rock star; so was Anne Sexton.

My songs were influenced not so much by poetry on the page but by poetry being recited by the poets who recited poems with jazz bands.

There are real facts in my poems, but facts mixed up in the perverse stubborn stew of imagination, add a pinch or two of revenge and retribution, a dash of amplification and reparation.

Of the individual poems, some are more lyric and some are more descriptive or narrative. Each poem is fixed in a moment. All those moments written or read together take on the movement and architecture of a narrative.

A book of poems doesn't just come out by chance, an editor has to select it, a publisher has to distribute it or you will never see it.

I think a lot about the poems I wasn't able to write...I masturbrated...Solitude is essentially a matter of pride; you bury yourself in your own scent. The issue is the same for all real poets. If you've been happy for too long, you become banal. By the same token, if you've been unhappy for a long time, you lose your poetic power...Happiness and poverty can only coexist for the briefest time. Afterword either happiness coarsens the poet or the poem is so true it destroys his happiness.

I prefer always to think that I am creating a book, not a series of stand-alone poems.

The great poems are not about experience, but are the experience itself, felt in the body.

Poems give you the lives of others and then circle in on your own inner world.

Always learn poems by heart. They have to become the marrow in your bones. Like fluoride in the water, they'll make your soul impervious to the world's soft decay.

The world is so great and rich, and life so full of variety, that you can never lack occasions for poems.

I'm always glad that other people are way smarter about my poems than I am.

Young writers should be encouraged to write, and discouraged from thinking they are writers. If they arrive at college with literary ambitions, they should be told that everything they have done since their first childhood poems, printed in the school paper, has been preparation for entering a long, long apprenticeship.

To see the Summer Sky Is Poetry, though never in a Book it lie— True Poems flee—

Poets don't finish poems, they abandon them.

I have always believed that poems beg to be read aloud, even if the reader is in a world all her own.

I started writing little short stories and poems as soon as I learned to read and write. I think I was six years old. And then when I got to be eleven, twelve, and into my teens, I was just listening to records all the time, and I got a guitar. I started to take guitar lessons when I was twelve.

Is there an aesthetic "fit" in my work between God and the world? The "I' in my poems has from the beginning identified himself as Catholic, and my books certainly can be read as presenting a Catholic theology "in a very particular sense." Catholicism is a faith morally identified with the human struggle for human dignity and justice. It is a vision of the world incarnationally rooted in the senses, a faith of and in spoken and written words - Scripture, "the Word of God," the Logos.

I like to work with multiple sections because they lend themselves to the structure of the poem: its intensifications and arcs and closures. I feel like working with smaller units feels more natural to the way I write poems.

Poems reach up like spindrift and the edge of driftwood along the beach, wanting! They derive from a slow and powerful root that we can’t see. Stop the words now. Open the window in the center of your chest, and let the spirits fly in and out.

That's how it is with relationships, it's a part of life, and all the great love songs and poems and films have been written by people who were standing where I was that morning as Simon shut the door. Doesn't make it any easier though.

Poems' deep work is a matter of language, but also a matter of life. One part of that work is to draw into our awareness and into language itself the unobvious and the unexpected.

I've always wanted to write poems and nothing else.

The maiden Olympics had more to protest about than mere war, though. Central to its ethos was a rejection of two establishments the political one, certainly, but also that of the wider poetry world itself. It changed poetry for ever in the UK, ... It led to readings all over the country. You suddenly got more women reading and publishing poems, as well as gay guys and poets from all over the world. Until that time, published poetry had been very university-based white, male, middle-class. We were trying to break poetry out of its academic confines.

Modern poetry, for me, began not in English at all but in Spanish, in the poems of Lorca.

I can't understand these chaps who go round American universities explaining how they write poems: It's like going round explaining how you sleep with your wife.

I can't actually explain why my lines got shorter, but they did. Just as I can't explain why my early poems were 'all image' and my current ones are relatively abstract. The sense of the line changed with the theme, somehow my ear (or brain or heart/mind) fell in love with a short line and very very simple words.

It's good to have poems that begin with tea and end with God.

How are his poems?" "He's not as good as he thinks he is, but then most of us feel that way.